I figured I would ask this question here since it seems that I would probably find the answer here. Anyways does anyone have a good definition of sonata allegro form? From what I gather it is ABA form but what else does that entail? Does it have repeats after certain sections or any other little details such as A should end with a perfect cadence or something? Is the form even ABA or am I wrong? Any help is appreciated, thank you.

The two instruments don't necessarily blend well together on their own. The first video was the worst offender to my ears, the second two where the keyboardist was playing the bass part with his left hand as well worked a bit better.

I figured I would ask this question here since it seems that I would probably find the answer here. Anyways does anyone have a good definition of sonata allegro form? From what I gather it is ABA form but what else does that entail? Does it have repeats after certain sections or any other little details such as A should end with a perfect cadence or something? Is the form even ABA or am I wrong? Any help is appreciated, thank you.

Sonata allegro == sonata form. It's vaguely ABA, although it's really more like AA'A". Look at Xiaoxi's Brahm's thread, he analyzed a sonata form in there.

The two instruments don't necessarily blend well together on their own. The first video was the worst offender to my ears, the second two where the keyboardist was playing the bass part with his left hand as well worked a bit better.

I was thinking of doing this

just need guitar to complete the trio that guys not around, wouldnt ppl enjoy that?

I am very happy to see this classical-only thread! I compose classical music (in addition to my popular-music band "The HK Alliance") so it is nice to see other composers and fans of classical.

My favorite era is undoubtedly the early 20th Century with its whirlwind of radical compositional changes (which, of course started much earlier with folks like Faure and Wagner). My favorite composers are Bela Bartok, Maurice Ravel, and Alban Berg, but I like pieces from nearly every composer of the 1890-1935 time period.

Why I enjoy it so much compared to more modern classical and older classical is the extreme stretching of chromatic harmony but without the 100% complete loss of a referential tonal center (not necessarily a dominant-tonic relationship). Bartok does this most masterfully in my view with his ridiculously creative compositional style based on what we now call "Musical Set Theory".